This character study from Japanese writer/director Takeshi Kitano is a measured consideration of the alienating effects of the end of adolescence. One of my favourite directors, Kitano's films have an annoying habit of being impossible to find on DVD, VHS or TV anywhere, and such is the case with Kids Return. Having managed to rent it as a download, I was pleased to discover that this low-key film is a treat among Kitano's strong work.
The story concerns two friends, who misspend their time at school getting into fights and stealing dinner money. As their education falls apart, they each take up boxing, and one eventually moves away into the local yakuza gang. As ever for Kitano, the action and acting is understated. However, for the first time here the camera is somewhat dynamic, a move away from the static tableau that dominated earlier works such as Violent Cop and Sonatine. The score is provided by Joe Hisaishi, and is uncharacteristically dependent on electric instruments; it's still a winner, though.
As his first film following a horrendous traffic collision that left Kitano semi-paralysed, it begins a loose trilogy of contemplative pieces that move away from the violent downward spirals in his first films. Kids Return lays the template for a formula that would be perfected in his following two masterpieces, Hana-Bi and Kikujiro.
Its as good an entry point into the Kitano catalogue as any, and as such is strongly recommended for those with an interest in Eastern cinema that avoids the vaguely trendy 'extreme' scene, or simply for anyone who wishes to see a well-realised, moving drama.
4/5
The story concerns two friends, who misspend their time at school getting into fights and stealing dinner money. As their education falls apart, they each take up boxing, and one eventually moves away into the local yakuza gang. As ever for Kitano, the action and acting is understated. However, for the first time here the camera is somewhat dynamic, a move away from the static tableau that dominated earlier works such as Violent Cop and Sonatine. The score is provided by Joe Hisaishi, and is uncharacteristically dependent on electric instruments; it's still a winner, though.
As his first film following a horrendous traffic collision that left Kitano semi-paralysed, it begins a loose trilogy of contemplative pieces that move away from the violent downward spirals in his first films. Kids Return lays the template for a formula that would be perfected in his following two masterpieces, Hana-Bi and Kikujiro.
Its as good an entry point into the Kitano catalogue as any, and as such is strongly recommended for those with an interest in Eastern cinema that avoids the vaguely trendy 'extreme' scene, or simply for anyone who wishes to see a well-realised, moving drama.
4/5
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